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Manny Farber, 1917-2008

As a critic, Farber advocated more modest, elemental "termite art" — throwaway B movies, Westerns and, later on, important works of European and experimental cinema that he found sui generis, teeming with life, and more invested in individual moments than grandiose objectives

With hard-hitting investigative stories, spirited criticism and provocative cultural coverage, L.A. Weekly has become the nation's most widely read alt-weekly — and an important voice in Los Angeles. The paper's writers have dominated the L.A. Press Club's Journalist of the...

More by Scott Foundas

Dogmatic ideologies — religious, political and social — are central to Michael Haneke’s latest film, The White Ribbon, which unfolds in a rural German village during the year preceding the start of World War I.

And so another year comes to an end, and with it a decade (Gregorian contrarians notwithstanding) in which the answer to the question “What is cinema?” underwent more radical transmutations than in any comparable period since the dawn of moving images.

Does Nancy Meyers hate women? The thought ran through my head not very long into It’s Complicated, Meyers’ biennial stocking-stuffer about the romantic trials and tribulations of obscenely privileged and narcissistic Southern Californians.

Hopper's brief friendship with James Dean, his co-star and mentor on the sets of Rebel Without a Cause and Giant marked him for life; they shared a passion, which Dean was the first person in Hopper's world to fully articulate.